宋徽宗墨笔花鸟画初探  

A Preliminary Investigation of the Ink Flower and Bird Paintings of Emperor Huizong of the Song Dynasty

作　　者：薄松年[1] 

机构地区：[1]中央美术学院

出　　处：《故宫博物院院刊》2004年第3期14-22,共9页Palace Museum Journal

摘　　要：一个画家艺术风格的形成离不开他所处的时代环境及其本人的气质。作者认为,宋徽宗墨笔花鸟画的渊源,一为五代兴起的以徐熙为代表的江南花鸟画派,一为宋代中叶兴起的文人士大夫画风。因此,宋徽宗以特有的文人情怀致力于其他文人画家所追求的江湖之思、林泉之趣,但又因其特定的帝王身份,其墨笔花鸟作品仍带有雍容的气貌而缺少荒远之境。值得注意的是,徽宗将文人情趣引入宫廷绘画,改变了宫廷绘画历来的富丽倾向,其墨花开元代之先河。The formation of the artistic style of a painter cannot be divorced from his or her historicalenvironment and personal qualities. The author believes that the sources of the ink flower and bird paintingsof Emperor Huizong of the Song Dynasty can be traced to two sources. The first was the Jiangnan flower andbird painting school, of which Xu Xi was representative and which flourished from the Five Dynasties periodonwards. The second was the painting style of the literati painters that flourished in the mid Song Dynasty.Emperor Huizong of the Song Dynasty drew on the unique emotional appeal of the literati painter and devotedhis efforts to pursuing the quest of the literati painter for wild landscapes of refuge (jianghu) and reclusivity(linquan). However, because of his pre-eminent position as emperor, his flower and bird paintings in ink areimbued with an elegant and poised demeanour and lack the sense of wilderness. It is worth noting that, byintroducing the feel of literati painting into palace painting, Emperor Huizong of the Song Dynasty transformedthe long-standing sumptuousness of palace paintings and his ink painting style laid the foundations for Yuandynasty painting.

关 键 词：宋徽宗 墨笔花鸟画 徐熙 江南花鸟画派 画风 宫廷绘画 《池塘秋晚图》 《柳鸦芦雁图》 

分 类 号：J209.2[艺术—美术]